Skip to main content

Teacher

Giancarlo
Scarchilli

“Everyone acts except a few good actors.”

Contact us now!

Biography

Giancarlo Scarchilli is a Roman director and screenwriter. He lived in London from 1974 to 1976. In those three years he intensified his writing of short stories and poems. Upon returning to Italy, he became the closest collaborator of Sergio Citti and Vittorio Gassman

As a collaborator in the direction and/or screenplay he took part in “Two pieces of bread (1978)”, “Minestrone (1980)”, “From father to son (1978/82)”, “Dreams and needs (1984/ 85)” and “Gassman Story (1985/86)”. He contributed, like author, to the first part of the theater show “Fa male il teatro” (director and performer Vittorio Gassman) together to Alberto Bevilacqua, Vincenzo Cerami, Roberto Lerici, hector Scola, Lina Wertmuller, Bernardino Zapponi, Caesar Zavattini. In the same period he made, as a director, documentaries and advertisements for Chiquita, Michael Jackson, BNL, David Zard, etc. He also films the seminars held in the Bottega Teatrale in Florence by Vittorio Gassman, Anthony quinn, Ettore Scola, etc. In the nineties he combined his work as a screenwriter with that of cinematographic director

Download the Biography

Educational Programme

Educational Programme

The course will deal with the analysis of the text, trying to understand the topic covered in the script or monologue by highlighting the most dramaturgically important points of the text covered and identifying the most significant word (or words) within a scene or a joke.

During the lessons relating to text analysis the following points will be covered:

1 – USE OF THE PAUSE AND TONE VARIATIONS

  • A good interpretation is made by the skilful use of pauses and variations in tone to highlight the most significant words of a text to be represented.
  • Don't make the mistake of thinking you can be more convincing and effective by focusing on the volume of your voice. Cinema works on the strength of the gaze and the authenticity of the interpreter. Before smiling with your mouth, you need to learn to smile with your eyes. 

2 - "EMOTIONAL COLOR” OF THE CHARACTER

  • The three fundamental questions to ask yourself, as an interpreter, before tackling a scene are "Who are you?", "Where are you?", "Who are you addressing?", Getting into the character's state of mind and remembering that cinema works on naturalness and truth. 
  • Never make the mistake of having, from the beginning of the scene, the mood that you will have at the end of it. Scenes often end tragically... but they aren't tragic at the beginning; we must not make the mistake of having tragedy in the face and in the tones from the beginning of the scene. Follow the natural emotional movement that the interpreter has during the development of the scene.

For the meetings with the teacher-director Giancarlo Scarchilli, 4/6 lessons are planned in order to be able to tackle three main work steps:

  • TEXT ANALYSIS of modern poems and various texts (individual work)
  • MONOLOGUE (individual work to focus on the emotional color of the character to be played)
  • FILM SCENES (work with two or more characters)

For the meetings with the teacher-director, the students will have to learn a poem by heart (to be chosen from those selected by the teacher-director). They deal with topics aimed at stimulating the emotional sphere of the student-actor to help him get into a character (the lover, the hero, the coward, the idealist, the villain, etc.).

The student-actors will have to bring with them all the poems sent and equip themselves with a pencil, so as to be able to identify the words 'key' of the text and the use of pauses to highlight them. 

The monologues will be freely chosen by the student-actors and are aimed at understanding the relationship between the director and the actor on the set.

The scenes, taken from films, will be assigned by the teacher-director based on the characteristics of the student-actors.

After the work on the analysis of the text, the variations in tone, the use of the pause and the 'emotional colour' of the character to be played, to make the student-actor understand how to relate in front of the camera and the importance of authenticity in cinema. The first floorlaw' the soul, we must learn to 'find' the right energy for the character you have to play.

Contact us now!

Choose the course you prefer, we will contact you for information or to request admission.
We will reply as soon as possible

I DECLARE that I have read the Privacy Policy.
I AGREE to the processing of my personal data, to be contacted via email, telephone, WhatsApp and/or Newsletter, for marketing or remarketing purposes.